故事发生在明朝未年。杨独行（杨鸣健 饰）武功盖世，却从不过问江湖恩怨。一日，白莲教大师兄之弟李天仇（周国宾 饰）因故在自家沾毒酒丧命，视名声为天大的杨独行誓言找出投毒的真凶。他找到白莲教二师兄刘黑虎（赵小锐 饰）质问，刘辩称有人从中挑唆，待查清原委再说。当日深夜，贼人行剌杨独行未果。次日清早，四海镖局王大海（邢伟勇 饰）之子王少东（姜光成 饰）前来送所押银两，从刘黑虎口中得知，河涧大侠郭子玉（周文伟 饰）武功已废，杨独行让王少东带路去见其父王大海，不料半路少东被刘黑虎手下杀害。杨独行对刘黑虎如此毒辣心感骇然，他决定涉足江湖，为民除害......

黄沙之地，抗倭志士追马流落至此，开一客栈聊度余生。仇人之女白鹿携宝箱逃命至此，新仇旧恨，天赐良机，本可除之后快，然面对箱中所托抗倭机密，为民族大义，追马放弃仇恨，忍受误解，以命相护，终圆未竟报国之梦。

Harry Moseby (Gene Hackman), a worn-out private detective, is hired to look for a 16-year-old girl who has run away from the luxury home of her mother, formerly a small-time actress in Los Angeles. The more the weary cynic tries to get under the surface of the seemingly simple case, the harder it is for him to find his bearings among the lies and deceptions that surround him. Eight years after the key New Hollywood film Bonnie and Clyde, Arthur Penn and Gene Hackman reunited to collaborate on what was to become one of the most undervalued films of the decade. Like Polanski in Chinatown or Altman in The Long Goodbye, in his revisionist film noir, Penn also allows the 1940s classic genre to pervade the complex reality of the 1970s. The feelings of bitterness and emptiness in the modern Chandleresque protagonist originate not only in the “public” sphere of the strange, increasingly convoluted case, but in his private life as well (boyhood trauma, a broken marriage). As Moseby remarks of a sporting event, “nobody’s winning … one side is just losing slower than the other.”

这是一部记录中国独立游戏开发者创作历程的纪录片。通过独立拍摄的形式，真实地呈现了中国独立游戏开发者的所思、所想、所做、所言。

奥蕾莉娅是一位自食其力的独立女性。有一天，她平静的生活被断交多年的妹妹安东尼娅打断。她们同居时，奥蕾莉娅察觉到妹妹举止怪异。奥蕾莉亚得知真相后，她将做出一个会彻底改变她生活的决定。 　　Aurelia, an independent woman who supports herself, is interrupted by her sister Antonia, who has been separated from her for years. For days they live together, but Aurelia discovers that Antonia is behaving strangely. When Aurelia knows the truth, she has to make a decision that will change her life.

影片根据台湾著名女作家李昂的同名小说改编。《暗夜》是一部描写权力、金钱、欲望与道德冲突的小说，导演但汉章将小说搬上了银幕，表现了股票记者、商人、商人之妻三个人间的爱欲纠缠。

The Israeli-Palestinian conflict manifests in its most complicated form over one night, and the encounter between two Israeli soldiers and the two Palestinian residents of the house to which the soldiers escape after their vehicle is attacked.

The Israeli-Palestinian conflict manifests in its most complicated form over one night, and the encounter between two Israeli soldiers and the two Palestinian residents of the house to which the soldiers escape after their vehicle is attacked.

《暗夜》一个恐怖的故事，发生在夜里，血腥、残暴、癫狂只要是能刺激你眼球的东西一样不少。而且全部都是用动画表现出来。 　　Malena 和 Pablo 兄妹俩旅行到阿根廷，发现了一本日记记载了20年前发生的罪案。这一晚一个家庭随着日记的历史重演被谋杀了，这个 Malena 和 Pablo 去查处究竟什么是真实的，什么不是真实的？……

Mixture of documentary and fiction about the dictatorial 1930s. With archive footage of 'kino newsreels', a script that is loosely based on the utopian fantasies of Fritz Lang and about the forbidden passionate love affair between a photographer and his model. The Dark Night takes Oleg Kovalov a little closer to his target: to write a complete history of the twentieth century in the language of film. Not a documentary or chronological history, but a lyrical, subjective and poetic history. In Sergei Eisenstein - An Autobiography, we witnessed the stormy 1920s and the blossoming culture of that era, in Scorpion's Garden we saw the paranoia of the Cold War and the thaw that followed. The Dark Night, just like Concert for a Rat before, is on the subject of the dictatorial 1930s. Kovalov has little faith in the documentary as a means to find truth. He does not think that the truth can be found within existing genres. So his films transgress those genres. Documentary and fiction are just as difficult to distinguish in his work as fictional characters from concrete people in old newsreels and other archive footage. That also goes for The Dark Night. The film combines archive footage from the Third Reich with a script that is loosely based on the fantasies of Fritz Lang: a lyrical thriller with horror elements. As the stylised black & white images have all been shot in reconstructed studio sets, the film has the mood of the 1930s cinema.